The curious case of Bronze Age Pervert (BAP, for short), of unfortunate name, or “handle,” in his world. Author of the self-published Bronze Age Mindset (2018), BAP is present in 4Chan discussion threads and on YouTube, and he produces weekly subscription-only podcasts with approximately 6,500 paying clients (I am among them). He was banned from Twitter but reinstated in December 2022, and he now has over 100,000 followers. A Google search turns up scores of articles addressing or discussing his work, (...) all written in palatable forms. But BAP’s own subjects and rhetoric are for adults only. Who is BAP, what does he espouse, and what compels the attention of orthodox Catholics? (shrink)

Bioethics, Volume 36, Issue 1, Page 25-41, January 2022.

James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate (...) the aesthetic theory of art. (shrink)

In a 2014 paper in this journal, I put forward two objections to a version of divine simplicity I call ‘Divine Truthmaker Simplicity’. James Beebe and Timothy Pawl have come to Divine Truthmaker Simplicity’s defense. In this paper, I respond to Beebe and Pawl, consider an overlooked way of defending Divine Truthmaker Simplicity, and conclude by outlining an alternative account of God’s simplicity.

The Enron debacle, the demise of Arthur Andersen, questionable practices at Tyco, Qwest, WorldCom, and a seemingly endless list of others have pushed public regard for business and business leaders to new lows. The need for smart leaders with vision and integrity has never been greater. Things need to change-- and it will not be easy. We can take a first step toward producing better business leaders by changing some of our own ideas about what it means to "win." (...) class='Hi'>Noel M. Tichy and Andrew R. McGill have brought together a stellar group of contributors from a variety of perspectives-- including General Electric CEO Jeffrey Immelt, former Secretary of State James A. Baker III, and renowned management gurus Robert Quinn and C. K. Prahalad, among others-- to offer insights that will help build better leaders, communities, and organizations. They show how to present a "Teachable Point of View" about business ethics that will help all leaders within an organization: Internalize core values Build a values-based culture across the organization Become engaged to teach the same values lessons to their staff Take action and raise the ethical bar Successful business leaders must be able to articulate their own unique Teachable Point of View on business ethics and drive it through their organization to ensure that everyone knows the ethical line and is neither shy nor silent if others risk crossing it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The (...) leading idea in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

Questions of Evidence: Proof, Practice, and Persuasion across the Disciplines. Edited by James Chandler, Arnold I. Davidson, and Harry Harootunian (Chicago: University of Chicago Press, 1994) 518pp. $45.00 cloth $19.95 paper. The Creation of Scientific Effects: Heinrich Hertz and Electric Waves. By Jed Z. Buchwald (Chicago: University of Chicago Press, 1994) 428pp. $32.95 paper $75.00 cloth.

James offers ways for escaping pessimism: i) leaving "the bare facts by themselves" - in construing the scientific order of nature - or permitting ii) a "religious reading to go on" by postulating "supplementary facts which may be discovered" or iii) "believed in". Adopting ii), we can trust the idea that "a still wider world may be there" as a "maybe" and then act as if the invisible world thereby suggested was real, enabling us "to live in the light (...) of " our "religious demands". One way of approaching Bloch's philosophy is to see him as dealing with James's three ways. A case can be made for Bloch's naturalism, phenomenologically understood, akin to James's second way. Yet, Bloch could also be regarded as adopting something like James's third way in terms of a teleologism messianically understood needed to ground the idea of Hope. But can Bloch's reconcile these two conceptions successfully? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Necessity of TheaterNoël CarrollDespite the fact that theater was the first art form to be examined in depth by Western philosophers, it has not received a great deal of attention by contemporary philosophers of art. Essays on literature, music, and cinema are more likely to appear in journals such as the British Journal of Aesthetics and The Journal of Aesthetics and Art Criticism than are articles on (...) theater. But with the publication of Paul Woodruff's The Necessity of Theater: The Art of Watching and Being Watched, James Hamilton's The Art of Theater and the recent anthology Staging Philosophy, edited by David Zucker Saltz and David Krassner, the tide seems to be turning. Philosophers are interested in theater again. Perhaps some lovers of theater may regard this as bad news, recalling what Plato, Augustine, and Rousseau attempted to do to theater. But contemporary philosophers of theater belong more to the school of Aristotle than to that of Plato.Of these recent contributions to the philosophy of theater, Paul Woodruff's book is the one that most resembles Aristotle's Poetics, especially in terms of its analyses of plotting, characterization, conflict, choice, and mimesis. This is maybe no surprise, since Paul Woodruff is not only a professor of philosophy, but also a professor of classics at the University of Texas at Austin. [End Page 435]One thing that is immediately striking about The Necessity of Theater is the elegance of its intellectual design. Woodruff begins with the hypothesis that theater is the art by which human beings make or find human action worth watching in measure time and place. That is, theater is art of being watched and watching. This distinction between being watched and watching, then, provides Woodruff with the means to, on the one hand, examine the elements that go into making theater, and, on the other hand, the elements that go into watching or appreciating theater.Creating theater involves making something worth watching—something that will hold the audience's attention. What sorts of things command our attention? Human action, notably as it is organized in terms of a plot which Woodruff, like Aristotle, emphasizes must be of a magnitude sufficient to be cognitively manageable. Since actions require choices, Woodruff follows his analysis of plot, naturally enough, with a discussion of the choices that give rise to those actions for much the same reason that Aristotle includes dialogue as one of the components of tragedy.In order to be worth watching, Woodruff recommends that these choices be free and coherent. Since choices derive—or are thought to derive—from character, theater, in order to hold our attention, needs characters. These characters must be agents and, in addition, they must be capable of engaging our emotions, not just pity and fear, but the gamut of emotions, although the most important of these, on Woodruff's view, would appear to be the elicitation of care on the part of the audience on behalf of the characters on stage. Woodruff contends that care for a character is engendered by giving the character a past as well as hopes for the future (an aim, a project, a problem) and by making that person a center of love (that is, someone who loves and/or is loved by or who cares and is cared for by other people).Theater primarily makes us interested in watching people by encouraging us to respond to characters emotionally. It is able to do this because it traffics in mimesis. Woodruff understand mimesis as a matter of a mimetic object, a theater piece, bringing to the fore certain effects of the object of which it is a representation. With respect to a theater piece, the relevant effects are emotional effects. Because mimesis is selective, it may be able to achieve those effects more intensely than its off-stage model can; the selectivity of the theater piece both places greater emphasis on the emotion-provoking features of situations while also blocking out otherwise [End Page 436] interfering detail. However, theater does require the complicity of the audience who must fill-in the model imaginatively.The introduction of the role of the audience's... (shrink)

James offers ways for escaping pessimism: i) leaving "the bare facts by themselves" - in construing the scientific order of nature - or permitting ii) a "religious reading to go on" by postulating "supplementary facts which may be discovered" or iii) "believed in". Adopting ii), we can trust the idea that "a still wider world may be there" as a "maybe" and then act as if the invisible world thereby suggested was real, enabling us "to live in the light (...) of " our "religious demands". One way of approaching Bloch's philosophy is to see him as dealing with James's three ways. A case can be made for Bloch's naturalism, phenomenologically understood, akin to James's second way. Yet, Bloch could also be regarded as adopting something like James's third way in terms of a teleologism messianically understood needed to ground the idea of Hope. But can Bloch's reconcile these two conceptions successfully? (shrink)

Jeffrey Brower has recently articulated a way to make sense of the doctrine of divine simplicity using resources from contemporary truthmaker theory. Noël Saenz has advanced two objections to Brower’s account, arguing that it violates constraints on adequate metaphysical explanations at various points. I argue that Saenz’s objections fail to show that Brower’s account is explanatorily inadequate.

In lieu of an abstract, here is a brief excerpt of the content:Replies to CriticismsJames R. HamiltonI am grateful to Noël Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thom for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have (...) happened.Whenever the central proposals made in The Art of Theater were made by theater people during the past hundred years, they were greeted with a kind of baffled outrage by many traditionalist literature scholars who had taken it as an obvious fact that theatrical performances are nothing more than illustrations or interpretations of works of dramatic literature, at best requiring artistry for performance but not issuing in independent works of art. Quite a few contemporary literature and theater scholars have seen errors in the traditionalist view and proposed that theatrical performances are capable of even great artistry and, perhaps, of being works of art in their own right. It must be said, however, that they will not find my defense of that position congenial. Indeed, it will seem worse still from their point of view because my defense of the position does not require semiotic analysis, let alone any sort of poststructuralist thinking about theatrical performances that depends on seeing performance as a novel kind of text—a “theater text.” This will disappoint because, unlike many contemporary literary theorists (and even some theater theorists), I do not think of theatrical performances as something to be read and, further, as something that falls within the purview of literary scholarship after all. Performances are actions and are to be understood in the ways we understand all other actions.I knew the central proposals in The Art of Theater would seem a little strange to philosophers. Some of the strangeness that they have felt about the view—if not the baffled outrage felt by literary theorists—can be mitigated, I believe, by considering three facts that served as motivations for making the proposal. I encountered these facts while teaching experimental theater techniques in a workshop format. Only gradually did I come to realize they are facts about any theatrical performance—its presentation, its [End Page 80] preparation, and its reception. It was only after I realized how general these facts are that I began to wonder why the view they seem to suggest is not more widely held, or even discussed, among philosophers working on the performing arts. My book was designed to get that discussion going. And, to judge by the quality of the discussion in this volume, it has succeeded admirably in meeting that goal. I think the book is also largely correct, however, so it is worth beginning at the beginning, with the basic facts I encountered in teaching experimental theater.First, it is undeniable that what typical spectators for any theatrical performance grasp is delivered to them entirely during the time of the performance itself. The typical spectator—which excludes academics and professional critics—is usually unfamiliar with what she is about to see and hear, in content if not in kind. Nevertheless, most spectators are successful in tracking most theatrical performances, even some in wildly unfamiliar styles and traditions. This is an important fact. Its importance lies in the implication that spectators do not need to recognize anything beyond what they see in the performance to regard the event as something they can assess aesthetically and artistically.Second, rehearsal processes for theatrical performances involve a lot of experimentation that focuses on how to make features of actors’ bodies and voices render clearly what the audience is supposed to see and hear and on how to make the sights and sounds generated by the ensemble, the set, the lighting, and so on focus audience attention in the places that will best enable them to understand what the company is presenting. This too is an important fact, for it highlights what any spectator has to know something about in order to make cogent artistic assessments of the event she has witnessed.Finally, consider the following case... (shrink)

The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix (...) Guattari's schizoanalytic practice in the 1950s and 1960s and, before him, the Francophone educationalist Celestin Freinet, who founded the Modern School Movement, are explored and used to illuminate examples of some of our own attempts to set the classroom up as a space for collective engagement. We conclude by exploring how this understanding of the class as subject group may be used to mobilise action and de-stabilise the coordinates of existing academic divisions of labour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSherri Irvin, Guest Editor (bio)The idea for this special issue of the Journal of Aesthetic Education had its origins in the December 2007 event “The Art of Performance: Symposium in Honor of Jim Hamilton,” organized by Sandra Lapointe and Marcelo Sabatés and hosted by the Department of Philosophy at Kansas State University with the kind support of President Jon Wefald and the dean of the Faculty of Arts and (...) Sciences. The symposium was designed to celebrate the 2007 publication of Jim Hamilton’s The Art of Theater by Blackwell, as well as his many years of leading experimental theater programs for Kansas youth. Noël Carroll, David Davies, Aaron Meskin, and I were critics in an author-meets-critics session on The Art of Theater at the symposium, while Paul Thom was a critic for a session on the book at the 2007 Annual Meeting of the American Society for Aesthetics.The Art of Theater bears the stamp of Hamilton’s dual roles as a philosopher and an avid participant in contemporary theater practice. It is a philosophically sophisticated and richly informed treatment of the theoretical issues surrounding the practice of theater. It contributes greatly to filling what was a rather glaring hole in the philosophical literature: whereas music has received quite extensive treatment in recent decades, only a few philosophers have ventured into the complex territory of theater.Hamilton holds that theater is an independent form of art: theatrical performances are artworks in their own right, not subsidiary to or derivative of works in any other form (particularly literature). The process by which a theatrical performance is constructed, he suggests, involves such an extensive array of decisions by the performing company—including decisions about whether and how to make use of any preexisting text in the performance—that no text or literary work can be thought of as “the work” that is performed. Instead, the company’s activities generate the only work [End Page 1] at issue: namely, the performance itself. When a performance seems to bear a special relation to some repeatable entity, such as Hamlet, we should understand this as a relation the performance bears not to some literary text but to a tradition of other performances that have been collected under the Hamlet rubric. Accordingly, basic understanding of a theatrical performance does not require prior acquaintance with a text or literary work; spectators can have basic understanding of a performance as long as their responses demonstrate that they have followed what is happening as the performance itself unfolds. Spectators lacking extensive acquaintance with recent text-based theatrical practices, then, need not be stigmatized as lacking the resources to appreciate works of theater.In this issue Hamilton’s précis of the book is followed by the contributions of five critics who challenge the book’s central theses. The critics ask, Does Hamilton provide sufficient reason to reject the claim that at least some performances are of literary works, and can a satisfactory ontology of theater be developed if this claim is rejected? Even if theatrical performances are not of some text-based literary work, could they be of some other work, perhaps a work of theater that is generated through the performance practices of a company? Should spectators who follow what is happening moment-to-moment in a given performance, but fail to recognize that the performance parodies or satirizes some literary work, be said to have even basic understanding of what they have seen?Hamilton’s extensive replies to the critics will, I think, serve as a valuable supplement to the book, clarifying some of its central arguments and, in some instances, supplying new arguments for its theses. In particular, he points out that he did not intend for the book to provide a definitive argument for the thesis that theatrical performances are never performances of some other work; instead, he takes this thesis to emerge from a careful examination of theatrical practice. The aim of the book is to explore the implications of the thesis and to show how identification and appreciation of theatrical performances are possible if it is true. In this spirit, many of his claims should be given... (shrink)

Amie Thomasson’s work provides numerous ways to rethink and improve our approach to metaphysics. This chapter is my attempt to begin to sketch why I still think the easy approach leaves room for substantive metaphysical work, and why I do not think that metaphysics need rely on any ‘epistemically metaphysical’ knowledge. After distinguishing two possible forms of deflationism, I argue that the easy ontologist needs to accept (implicitly or explicitly) that there are worldly constraints on what sorts of entities could (...) exist, and could co-exist. I argue this leaves room for a substantive role for metaphysics if (following the work of E.J. Lowe) we take metaphysics to be concerned with the possible ways that reality could be. I explain how this conception does not need to appeal to any ‘epistemically metaphysical’ knowledge, and need only make use of conceptual and/or empirical means to arrive at views on what could exist (and co-exist). Thus, the answer I propose to the question posed in the title, at least in my view, is no-one. Or, at least, no-one should be afraid of conceptual analysis. Not even metaphysicians. (shrink)

There is a significant debate over the moral status of human embryos. This debate has important implications for practices like abortion and IVF. Some argue that embryos have the same moral status as infants, children, and adults. However, critics claim that the frequency of pregnancy loss/miscarriage/spontaneous abortion shows a moral inconsistency in this view. One line of criticism is that those who know the facts about pregnancy loss and nevertheless attempt to conceive children are willing to sacrifice embryos lost for (...) the healthy children they ultimately have. I respond to this criticism and argue that on the most plausible accounts of well-being, these embryos are not made worse off and thus not “sacrifices.” I then make some more general remarks about what people’s typical views about pregnancy loss show about their views toward the moral status of embryos. (shrink)

Organ donation after the circulatory determination of death requires the permanent cessation of circulation while organ donation after the brain determination of death requires the irreversible cessation of brain functions. The unified brain-based determination of death connects the brain and circulatory death criteria for circulatory death determination in organ donation as follows: permanent cessation of systemic circulation causes permanent cessation of brain circulation which causes permanent cessation of brain perfusion which causes permanent cessation of brain function. The relevant circulation that (...) must cease in circulatory death determination is that to the brain. Eliminating brain circulation from the donor ECMO organ perfusion circuit in thoracoabdominal NRP protocols satisfies the unified brain-based determination of death but only if the complete cessation of brain circulation can be proved. Despite its medical and physiologic rationale, the unified brain-based determination of death remains inconsistent with the Uniform Determination of Death Act. (shrink)

The past few decades have seen an explosion of research on causal reasoning in philosophy, computer science, and statistics, as well as descriptive work in psychology. In Causation with a Human Face, James Woodward integrates these lines of research and argues for an understanding of how each can inform the other: normative ideas can suggest interesting experiments, while descriptive results can suggest important normative concepts. Woodward's overall framework builds on the interventionist treatment of causation that he developed in Making (...) Things Happen. Normative ideas discussed include proposals about the role of invariant or stable relationships in successful causal reasoning and the notion of proportionality. He argues that these normative ideas are reflected in the causal judgments that people actually make as a descriptive matter. Woodward also discusses the common philosophical practice-particularly salient in philosophical accounts of causation--of appealing to intuitions or judgments about cases in support of philosophical theses. He explores how, properly understood, such appeals are not different in principle from appeals to results from empirical research, and demonstrates how they may serve as a useful source of information about causal cognition. (shrink)

This chapter provides an account of sexual ontology, grounded in and responsive to Irigaray’s philosophy, that focuses on the question of possibility. I first consider possibility in terms of the ontological negativity of sexuate beings, whereby one sex or sexuate morphology does not exhaust all that that kind of being is or can be. Second, I consider how sexual difference, as a relational structure of being, engenders possibilities for sexuate beings to develop as irreducible individuals. With particular focus on the (...) human being and the looming question of transhumanist technologies, I argue that these principles develop a sexual ontology that recognizes determinate limits between sexes while allowing for varied and creative expressions of sexuate life. (shrink)

While substantial progress has been made in the field known as artificial consciousness, at the present time there is no generally accepted phenomenally conscious machine, nor even a clear route to how one might be produced should we decide to try. Here, we take the position that, from our computer science perspective, a major reason for this is a computational explanatory gap: our inability to understand/explain the implementation of high-level cognitive algorithms in terms of neurocomputational processing. We explain how addressing (...) the computational explanatory gap can identify computational correlates of consciousness. We suggest that bridging this gap is not only critical to further progress in the area of machine consciousness, but would also inform the search for neurobiological correlates of consciousness and would, with high probability, contribute to demystifying the “hard problem” of understanding the mind–brain relationship. We compile a listing of previously proposed computational correlates of consciousness and, based on the results of recent computational modeling, suggest that the gating mechanisms associated with top-down cognitive control of working memory should be added to this list. We conclude that developing neurocognitive architectures that contribute to bridging the computational explanatory gap provides a credible and achievable roadmap to understanding the ultimate prospects for a conscious machine, and to a better understanding of the mind–brain problem in general. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea that (...) love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

A fresh explication of the Thomist justification of self-defense casts off the hobbles of the principle of double effects to find a more secure footing in the historicaldevelopment of subjective natural rights by medieval jurists, and a straight-forward application to the latent threat of death in childbirth posed by non-consensual pregnancy. By articulating the implicit Thomistic right to defensive abortion in terms of conditional rights bestowed in Creation as correlative to particular natural law duties, justly proportionate limits to defensive abortion (...) are identified, and balanced against the forfeited or reserved natural rights variously imputed to conceptus and embryo in non-consensual pregnancies. Subsequently, the varieties of involuntary consent are examined from a Thomist perspective with a view to their relevance in justifying recourse to a rehabilitated practice of defensive abortion when free and full consent to impregnation and childbirth is absent. (shrink)

Few can imagine a world without telephones or televisions; many depend on computers and the Internet as part of daily life. Without scientific theory, these developments would not have been possible. In this exceptionally clear and engaging introduction to philosophy of science, James Ladyman explores the philosophical questions that arise when we reflect on the nature of the scientific method and the knowledge it produces. He discusses whether fundamental philosophical questions about knowledge and reality might be answered by science, (...) and considers in detail the debate between realists and antirealists about the extent of scientific knowledge. Along the way, central topics in philosophy of science, such as the demarcation of science from non-science, induction, confirmation and falsification, the relationship between theory and observation and relativism are all addressed. Important and complex current debates over underdetermination, inference to the best explaination and the implications of radical theory change are clarified and clearly explained for those new to the subject. (shrink)

One of the most important topics that Thomas Aquinas discusses in his extensive corpus is the love of friendship, which is a unique form of love aimed at persons. Yet Aquinas's teachings on this are perplexing, for he claims that this love always produces union between lover and beloved, and that it is always a mutual love. This implies that one's love depends on reciprocation from the beloved, which seems implausible given the possibility of phenomena such as unrequited love. A (...) common interpretation of Aquinas's account of the love of friendship maintains that it is enough that one desires union and mutuality for such love to obtain even if such desires remain unrealized, but in this paper I reject this reading and argue that achieving union and mutuality is essential to this form of love. This novel interpretation ultimately reveals that the love of friendship is an intrinsically interpersonal act. (shrink)

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...) life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

My aim in this paper is to show that the natural idea that humiliation is harmful calls explanation and to argue that the most straightforward ways of responding to this explanatory demand fall short in important ways. I end by considering a line of response which I take to be promising, which appeals to our need, as social animals, for interpersonal connection.

This article develops an interpretation and defense of Husserl’s account of the omnitemporality of idealities. I first examine why Husserl rejects the atemporality and temporal individuation of idealities on phenomenological grounds, specifically that these attributions prove countersensical in how they relate idealities to consciousness. As an alternative to these conceptions, I develop a two-sided interpretation of omnitemporality expressed in modal terms of actuality and possibility, the actual referring to appearances in time and the possible, to reactivation at any time. In (...) defense of this interpretation of omnitemporality, I consider influential criticisms against Husserl’s account of idealities as they concern time, particularly whether the historical genesis of idealities compromises their omnitemporality by binding them to time. Ultimately, I argue that the transcendental historicity of idealities, despite being relevant to the question of validity and access, proves indifferent to their omnitemporality. (shrink)

In this chapter I argue that writers on metaphor have misunderstood Aristotle on metaphor. Aristotle is not an elitist about metaphor and does not consider metaphors to be merely ornamental. Rather, Aristotle believes that metaphors are ubiquitous and believes that people can express themselves in a clearer and more attractive way through the use of metaphors and that people learn and understand things better through metaphor. He also distinguishes between the use of metaphor and the coinage of metaphor, and believes (...) that the ability to coin marvelous new metaphors is a form of literary genius, and he provided an entirely natural origin of metaphor coinage. (shrink)

It is becoming increasingly common for authoritarian regimes to leverage digital technologies to surveil, repress and manipulate their citizens. Experts typically refer to this practice as digital authoritarianism (DA). Existing definitions of DA consistently presuppose a politically repressive agent intentionally exploiting digital technologies to pursue authoritarian ends. I refer to this as the intention-based definition. This paper argues that this definition is untenable as a general description of DA. I begin by illustrating the current predominance of the intention-based definition (Section (...) 2). Section 3 then presents four counterexamples to this definition: benign surveillance; digital sovereignty; attention-harvesting algorithms; and tech-induced loneliness. In each case, we witness authoritarianism being promoted by digital technologies without any evidence of this being intentionally caused by politically repressive agents. Based on these observations, I contend that the intention-based definition is underinclusive and is therefore unsustainable. Section 4 outlines an improved definition of DA – what I call the promotion-based definition. Since this more expansive definition does not posit intentional, politically repressive agency as a precondition of DA, it can accommodate the counterexamples discussed in Section 3. Moreover, it enables us to catch a broader spectrum of cases of DA, such as tech-induced loneliness, which those adhering to the intention-based definition are prone to overlook. After outlining further practical benefits of the promotion-based definition, I argue that we still need to distinguish between intentional and unintentional forms of DA since they call for distinct types of remedial action. -/- . (shrink)

Beginning right at the start of the recently published volume II of Donner le temps, at its ‘bord’ or ‘boarding’ upon or out of a calmy oceanic surface, this essay examines the functions and movements of distinct surfaces in between Heidegger and Derrida. Confronting thus the tradition of the ‘Grund’, ‘Abgrund’, ‘Urgrund’, ‘Ungrund’, with the khôra-like surface of archi-writing and dissemination, the essay proposes an investigation of the philosophical and writerly space of Derrida/Heidegger not through their marks and letters, but (...) instead through the different surfaces of inscription and – simultaneous – effacement as the ‘proper places’ of thought and experience, of Destruktion and deconstruction. (shrink)

Many people attempt to give meaning to their lives by pursuing projects that they believe will bear fruit after they have died. Knowing that their death will preclude them from protecting or promoting such projects people who draw meaning from them will often attempt to secure their continuance by securing promises from others to serve as their caretakers after they die. But those who rely on such are faced with a problem: None of the four major accounts that have been (...) developed to explain directed promissory obligation (the Authority View, the Trust View, the Assurance View, and the Reliance View) support the view that we are obligated to keep our promises to persons who are now dead. But I will provide hope for those who wish to use such promises to protect the meaning with which they have endowed their lives. I will argue that while we cannot wrong a person who is now dead by breaking a promise made to her during her life, we could wrong the living by so doing. We thus (might) have reason to keep the promises that we made to those who are now dead. (shrink)

Discusses the work of G.I. Gurdjieff and his establishment of the Institute for the Harmonious Development of man, and examines the contributions of Gurdjieff's two major disciples, P.D. Ouspensky and A.R. Orage.

Animal behaviour and welfare research are part of a wider endeavour to optimize the health and wellbeing of humans, animals and ecosystems. As such, it is part of the One Health research agenda. This article applies ethical principles described by the One Health High Level Expert Panel to animal behaviour and welfare research. These principles entail that animal behaviour and welfare research should be valued equitably alongside other research in transdisciplinary and multisectoral collaboration. It should include and promote a multiplicity (...) of marginalized voices, including those of animals, and it should apply and describe a harmonious balance between human—animal-environment interactions. Lastly, it should describe how humans need to change behaviour, adopt sustainable solutions and recognize the importance of animal welfare and the integrity of the whole ecosystem. (shrink)

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, music's value, music's relation (...) to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music. (shrink)

Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are (...) art now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy. (shrink)

In this article I respond to the constructive criticisms of my views in Markets with Limits that have been developed by Amy E. White, Roderick T. Long, and Julian Koplin. I also outline how Jason Brennan and Peter Jaworski have surreptitiously altered their position in the second edition of their book Markets Without Limits—alterations that they appear to have made in response to my criticisms. First, they have changed the view that they attribute to those they identify as anti-commodification theorists (...) in response to my claim that none of them hold the position that they attribute to them. Second, they have altered their definition of what constitutes a “semiotic” objection to markets. I argue that none of these changes successfully address my initial criticisms. By contrast, I believe that the revisions that I make to my views in response to the objections of White and Long address their concerns, and I concur with Koplin’s development of my views in the context of the use of AI. (shrink)